IGNAZ See also:

• IGNAZ MOSCHELES (1794–1870)

MOSCHELES (1794–1870)  , Bohemian pianist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• PRAGUE (Ger. Prag; Bohemian Praha)

Prague on the 3oth of May 1794, and studied See also:

• MUSIC

music at the Conservatorium under the direction of Dionys See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of fourteen he made his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance before the public in a See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto of his own See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition with marked success . In 1814 he prepared, with See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven's See also:

• CON

con-sent, the pianoforte arrangement of Fidelio, afterwards published by Messrs Artaria . In the following See also:

• YEAR

year he published his celebrated Variationen caber den Alexandermarsch, a See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert piece of See also:

• GREAT

great difficulty, which he played with so great effect that he was at once recognized as the most brilliant performer of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . He then started on a tour, during the course of which he visited most of the great capitals of See also:

• EUROPE

Europe, making his first appearance in See also:

• LONDON

London in 1822, and there securing the friendship of Muzio See also:

• CLEMENTI, MUZIO (c. 1751-1832)

Clementi and See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• CRAMER, JOHANN BAPTIST (1771—1858)
• CRAMER, JOHN ANTONY (1793—1848)
• CRAMER, KARL VON (1818—r9o2)

Cramer . For a concert given by the latter he wrote his famous Hommage d See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel, a See also:

• DUET (an adaptation of the Ital. duetto, from Lat. duo, two)

duet for two pianofortes, which afterwards became a lasting favourite with the public . During a visit to See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin in 1824 he first became acquainted with Mendelssohn, then a boy of fifteen; and a friendship sprang up between them which was severed only by Mendelssohn's See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• DEATH

death (see Briefe von Mendelssohn-Bartholdy an Ignaz and See also:

• CHARLOTTE

Charlotte See also:

• MOSCHELES, IGNAZ (1794–1870)

Moscheles, 1888) . In 1826 Moscheles married Charlotte Embden at See also:

• HAMBURG

Hamburg, and settled permanently in London . He was undoubtedly for some considerable See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time the greatest executant of his age; but, using his brilliant See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch as a means and not as an end, he consistently devoted himself to the further development of the true classical school, interpreting the See also:

• WORKS

works of the great masters with conscientious fidelity, and in his extempore performances, which were of quite exceptional excellence, exhibiting a fertility of invention which never failed to please the most fastidious See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste . In 1837 Moscheles conducted Beethoven's Ninth See also:

• SYMPHONY

Symphony at ' the° Philharmonic Society's concerts with extraordinary success, and by his skilful use of the See also:

• BATON (Fr. baton, baston, from Late Lat. basto, a stick or staff)

baton contributed to the prosperity of this association . During the course of his See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence in London he laboured incessantly in the cause of See also:

• ART

art, until the year 1846, when, at Mendelssohn's See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest solicitation, he removed to See also:

• LEIPZIG

Leipzig to carry on a similar See also:

• WORK

work at the Conservatorium, then recently founded . In this new See also:

• SPHERE (Gr. vclsa?pa, a ball or globe)

sphere he worked with unabated zeal for many years, dying on the loth of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 187o .

Moscheles' numbered works extend to 142, apart from See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor pieces; his most important compositions are his Pianoforte Concertos, Sonatas and Studies (Etudes, op . 70; and Characteristische Studien, op . 95); Hommage d Handel; and his three See also:

• ALLEGRI, GREGORIO

Allegri di bravura . See The See also:

• LIFE

Life of Moscheles (1873), a See also:

• TRANSLATION

translation by A . D . See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge of Mme Moscheles' Aus Moscheles Leben (1872) .